Troy Bramston

Curators at old Parliament House – now known as the Museum for Australian Democracy – have for many years maintained the prime minister’s suite much as it was when Bob Hawke vacated it in 1988. Visitors can gaze at a reproduction of the Arthur Boyd painting that hung opposite Hawke’s desk, gawk at the enormous, faux-timber panelled telephone Hawke used, and cast a wry eye over the prime ministerial bathroom, where curators have laid on the vanity toiletries and accoutrements belonging to the office’s last occupant: a box of contact lenses, a pair of black shoelaces, and a tube of hair dye.

In April 2011, the landmark High Court victory of four elderly Kenyans revealed a dark episode in British colonial history. Between 1952 and 1960, barbaric practices, including forced removal and torture, were widely employed against ‘Mau Mau’ rebels, real or imagined. Upon the granting of independence in 1963, thousands of files documenting such atrocities were ‘retained’ by the British authorities, eventually coming to rest in the vast, secret Foreign and Commonwealth Office archives at Hanslope Park. Now a small portion of that archive was opened to scrutiny, and a tiny ray of light shone on one of history’s greatest cover-ups.

Gough Whitlam may not have been one of the Australian Labor Party’s greatest prime ministers, but, since his defenestration by Governor-General John Kerr in 1975, he has been embraced as one of the ALP’s great martyrs. Kerr’s dismissal of the Whitlam Government galvanised the Labor movement. To Labor eyes, Kerr was Pontius Pilate and Whitlam the slain Messiah. New followers – many of them, like Whitlam, university-educated progressives – joined the ALP. New ideas were aired through policy think-tanks such as the Labor Resource Centre, headed by Jenny Macklin, a future federal deputy leader. Out of that angst and rage, a new ALP was forged. Labor was no longer a troglodyte party ruled by factional warlords and sectarian hatreds. It was a modern progressive movement hell-bent on winning and wielding power. After all, as Whitlam famously said to an ALP State Conference in Melbourne in 1967, ‘Only the impotent are pure.’

Gough Whitlam’s famous words during his impromptu speech after the Dismissal in 1975 remain a potent symbol of the excitements and turbulence of the Whitlam era. As Troy Bramston’s collection of ALP speeches since 1891 reminds us, political speeches can capture a national mood or sentiment at a particular time in history. Indeed, a carefully crafted set of words can become a treasured part of our national self-image. They can also boost or destroy a politician’s reputation. In an age when the media has become uncritically obsessed with gaffes, Twitter banalities, polls, and sound bites, it is worth remembering that a good speech can elevate the national conversation and appeal to our better instincts.

Neville Wran was nothing if not sartorial. He represented the new generation of politicians – dapper, immaculately tailored, effortlessly elegant – and stood out from his Labor colleagues in their crumpled suits and gaudy ties. His dress sense was not merely a matter of personal taste but also a political statement. He once appeared on the podium of a Labor party conference perspiring uncomfortably in the glare of the arc lights. A colleague leaned over and urged him to take off his jacket. Wran retorted, ‘What! And look like a Labor politician.’ It was classic Nev.

Graham Freudenberg, who has been at the centre of federal and NSW Labor politics for more than forty years, has now written his political memoir. Elegantly presented by his publisher, A Figure of Speech details Freudenberg’s life story, from his childhood in Brisbane to his early career in journalism, a rite of passage to London, and the vicissitudes of life in politics.

George Orwell must be spinning in his grave. Aghast at the use of his name to inspire any political crusade or bandwagon, the ardent advocate against the use of language to spin an alternative reality is forever being used to bolster the armory of political activists around the world.

Should Orwell be allowed to rest? Simon Crean’s speechwriter, the cerebral Dennis Glover, evidently thinks not. One hundred years after Orwell’s birth, Glover has recruited the socialist contrarian, novelist and essayist to his cause. In Orwell’s Australia: From Cold War to Culture Wars, Glover invokes Orwell’s legacy to rail not against the decline of the English language and the use of words to say one thing while meaning another, as is often the case, but rather to lament the state of modern Australia and the lost dream of a ‘social democracy without ideology’. Just like Orwell in the first half of the twentieth century, Glover sees a bleak future characterised by ‘the disappearance, under the pressure of coming wars, of a whole way of life, and its replacement with something shallower, nastier, prefabricated, more ideological and more politically and socially divided’ – in other words, John Howard and conservative hegemony enveloping the Australian way of life.